Tuesday, June 30, 2015

It's not at all rare to see the subject of time-space manipulation in the media these days because it's all over the news as well as entertainment productions. We watch and see what we see, according to the Lord's command for His saints in such as Mark 13:37. What's most interesting is when the space-time manipulation theme is embedded in the language of symbolism, like in The Avengers (2012). The theme is not only central to the plot, but two or more of the scenes are drenched in space-time symbolism. It's in the script, which is loaded with NLP, and it's in the visual imagery of the set and the action. This covert messaging is an expression of theurgy, an operation of mind-control programming, and ritual magick. For us, it provides a window of insight into the Adversary's intentions and how Bible prophecy is playing out in this amazing season.

The main point I want to make in this post is how the idea of a space-time ark is being promoted as central to an interdimensional war over humanity. What I've been writing about for the last few months and primarily showing from the text of the Bible is also the stuff of pop culture media, and it has been for a very long time. (Search this blog for time ark for more insight.) A reset of time itself is coming that will result in a time truncation. It will become necessary due to the consequences of an interdimensional war that will be (or, is being) fought with weapons of time-space manipulation. While this lengthy post was being written, the Lord provided some extremely interesting validation, which I will probably be writing about soon.

I'm assuming that you're already pretty familiar with the film that is the subject of this post. Briefly, the plot revolves around the Tesseract, a mysterious alien artifact that can function as a power source and a space-time portal. That higher-dimensional cube is activated very early to open a passage from the other side, through which the demigod Loki makes his entrance into this world and realm. The Tesseract is stolen from SHIELD and harnessed to open a dimensional portal through which alien invaders come, who wage war in an effort to destroy humanity. The portal opens right above the Stark Tower because the Tesseract was placed inside a device that was set up on the Tower's highest level.

It's fitting that the celestial Silver Gate is inherent in the location because the Stark Tower is in New York City, in Manhattan, replacing the MetLife building. There's a lot to explore in the film, including connections to the Grand Central Terminal and CERN's LHC.

Prior to the theft, the Tesseract was being studied inside a particle accelerator facility. It had been placed into the energy beam, and on the other side it was perceived as having been awakened. When the Tesseract was operated from the other side, that's when a blue beam shot out and Loki appeared as through a stargate. Links to CERN's LHC supercollider are unavoidable. When that controversial machine was fired up in the first run, strange beings appeared and were witnessed by many. Here's a sign from the film. Literally.

The Tesseract was being studied at a facility called Joint Dark Energy Station, Western Division. Project Pegasus. NASA Space Radiation Facility. S.H.I.E.L.D. Accelerator Test Facility. The entire time the sign is in view we see shadowy figures, most of them speeding by. Shadowy figures. Not unlike those seen in the SYMMETRY Dance-Opera film sponsored by CERN. They are the beings on the other side, waiting to come through to this space-time realm. (Web search project pegasus time travel montauk for insight into why The Avengers is making that connection.)

Here's another sign. The design of the owner's name on the Tower suggests that it's a space-time ark. It's subtle, but notice how the alignment of the letters and the shifted encircling line divides the word, STARK, into ST and ARK.

Comparing this design to the title graphic of Stitchers, the new series on the ABC Family network, the lengthened ascender of the letter A appears to be a slash character, and this might be a model for the Stitchers title. A slash is used as a separator. ST slash. Space-Time - separator. Space-time ark.

Here's a couple more observations about the Stitchers title. The slash is through two letters, TI. That's the standard designation for the metal titanium. It was named for the Titans of Greek mythology, the earliest class of gods. References to this metal can signal Code 47 (Osiris + Isis produces Horus) because the atomic mass of Titanium is 47.867. Because the shape cut off as the dot of an “i” suggests the triangle eye floating above the pyramid on the Great Seal of the USA, which is the all-seeing Eye of Horus, and it's called out as the “i” of Horus for yet another layer of redundancy.

I note with interest that the Occult gematria of STITCHERS is 121, and 122 where Z=1. Given our recent focus of attention on 12:21 and 21-22 combos that observation seems well worth noting here.

The Occult gematria of STARK is very significant. It's 19+20+1+18+11 = 69. That's what I consider to be the double digit number signaling the mark of the beast transformation, and I've noted plenty of related XO MOB imagery associated with the Tower. With Z=1 in the mirrored gematria, STARK calculates as 8+7+26+9+16 = 66. That's the number for the abyss, yes, the watery deep, and as you'll soon see this is a very fit identification. The Stark Tower is on Manhattan, an island. Man+Atun. Man god beast, surrounded by water-as-time, arising out of water-as-time.

In the film, the Tower doesn't function like The Time Machine of H. G. Wells, Dr. Who's phone booth or Mr. Peabody's Way Back Machine. Instead, it's represented as a modern Tower of Babel, a special platform where access is opened into the heavenly dimension. This connection between the two towers is made in ways that are cryptic but there's enough evidence to suggest that this is intended. The Tower is an independent operational interface between realms.

The scenes of primary interest happen early in the film, after the crisis has been introduced and while the Avengers team is being assembled. The Tower is introduced when Agent Coulson is about to recruit Tony Stark / Iron Man. Just before that, Nick Fury, Director of SHIELD, recruits Steve Rogers / Captain America while he's working out in a nostalgic looking boxing gym. I found a clip of this scene on YouTube. You'll probably want to watch it now and keep it open in another tab or window for reference.

While Director Nick Fury is making a pitch to a council of overseers, we hear a councilman say, “War isn't won by sentiment, Director.” Fury responds with dramatic emphasis. “No. It's won by soldiers.” The scene cuts to a boxing ring where we see Captain Steve Rodgers working out with a heavy punching bag. Our first sign is the brand label on the boxing gloves. Everlast. Like, everlasting; it's a time reference. Flashbacks to the past reveal what's on his troubled mind, scenes of some battles he fought during WWII. Through the transition from scene to scene, the overt context is WAR! This is about space-time warfare!

At almost 21 minutes into the movie (not the clip), this is what we hear. “There's not enough time. I've got to put her in the water.” Okay, if you've been paying attention to this blog that should flag your attention and put you on the alert for symbols like water-as-time. Just before the scene transition, a glass of water (as time) is being used as a prop and occasionally given a central position on screen. This is done while Fury makes the urgency of the situation his main argument. Urgency has to do with the passage of time. What follows is an abundance of imagery echoing that same theme.

As the time counter on the video player ticks over to the 21 minute mark, and the number 21 means time, it's apparent that the airplane Steve is piloting is crashing into the water. (Backstory is from the film, Captain America, The First Avenger.) Very briefly we're shown the Tesseract, which an earlier scene had demonstrated to be a space-time portal. The Tesseract is with him when he crashes into the sea, but there's more going on here. When the airship and pilot would penetrate the surface of the water, that action represents the breaching of a time-space barrier.

We see the body of Captain America, partially encased in melting ice. Ice is frozen water, which is frozen or stopped time. From the time of the crash until he was thawed out, Cap was in a state of suspended animation like a deep sleep where the passage of time had no effect on him.

We hear someone exclaim, “Oh my god! This guy's still alive!” When someone on screen utters those words, they're usually telling you that there's a symbolic level where they have just encountered a god. That god was still alive. He was, is not and will be, it could be said. As from out of the past, he emerged from the sea like the beast of Revelation 13:1. Captain America. Amaru, aka Osiris, whose parts were collected from the Nile (the river of time) and regenerated by Isis to produce Horus. (similar sounds, Isis ~ ice) Cap's shield bears the pentacle that is the ancient sign of the celestial goddess of the sea, Venus, aka Isis. The patriotic shield's magical sigil that is the pentacle is also the Egyptian hieroglyph for the duat, the underworld.

Cap is worked up and he punches the bag so hard that it flies off the chain (theurgy - seirai) and slides over to the wall, ruptured, spilling out sand. The sands of time have spilled out of the bag, time uncontained, lost. Motion, ceased. When the bag and sand fly through the air, think, tempus fugit. It comes to rest under the water fountain. That's a WATER-as-time fountain, where no cool water happens to be flowing. Right behind the bag we see a radiator, and hidden inside may be flowing steam and hot water-as-time. Some of the shots of Steve punching the bag are lined up to show us the water fountain and radiator being occulted by the swinging bag of sand. Stacking or layering related symbols is an expression of theurgy.

Steve sends the bag flying with a powerful right cross. The bag is cylindrical so it has a circular cross section. He hit it with a right cross. Bam. Cross circle. Mark of the Beast! Lined up behind him is a rounded square column. Squared Circle. The boxing ring is known as a squared circle. Technically, things called rings are round, right? That has rich meaning, signaling ritual sodomy and mind control programming. That biological-spiritual mechanism is exploited to create supersoldiers, like Steve Rogers. The squared circle construction is also a geometrical representation of time-space and the exercise of control over it. A boxing ring ~ space-time war. When the bag is punched so hard that it goes flying through the air, the squared circle of the boxing ring is seen behind it. There's a prominent square shape cut into the floor. When the cylindrical bag flies by it, yet another layer of circle square imagery appears.

Right near Cap's head - at 21:12 film time, and 12 is another primary time number, we see a clock behind him on the wall being covered and uncovered by his head - as he turns around. (uhhhh, think, ELO - Fire on High - “The music is reversible, but time... turn back, turn back, turn back, turn back”) His head was occulting the timepiece as he turned around, at 21:12. You're familiar with what I've been writing about 12:21, right? A clock, of course, is for measuring and accounting the passage of time.

So, are the themes becoming really obvious?

Cap walks over and picks up another bag. It's one of six in a line so there are seven total, including the one at rest under the fountain. Seven bags of sand means seven units of time. The bags are the heavy-bag kind, and the brand is Everlast. Like the boxing gloves seen hanging on the ropes. Everlast. Think about it. An Everlast punching bag and boxing gloves. Time wars. The bags are probably the standard 70 pound kind. Daniel 9 famously describes sets of sevens, 7 and 62 and 1 and 70. Coincidence? Doubtful. At the 12:21-22 time marker, Steve hangs the second punching bag on the chain. Meaning: Time transition. I reflect on all the verses numbered 21-22 and other sets with that numbering that the Lord was highlighting to Aaron and I during this past Pesah, a transitional season.

So, the squared circle pairing is a space-time symbol combo and so is the practically identical cross circle or XO. Each heavy bag is attached with four chains. Seen from above, the form presented is the familiar XO. It's signaling space-time and also the mark of the beast. It's also the heart of the sigil of Nodens, the god of the watery abyss.

The many columns in the gym are symbolic objects with meaning that should be familiar. They are used in Illuminati trauma-based mind-control for what's called time travel programming. That's probably because of the assigned meaning that goes back to ancient times, where heaven and earth are seen as connected by columns, and transited also. The ones in the gym are padded, which speaks to the padded rooms of mental asylums for more trauma-based mind-control symbolism. The row of Xs in the stitching forms water glyphs, aligned vertically. The marking of dimensional gates (windows, doors, bridges, columns...) with X X is hugely popular in film and TV sets.

When Fury walks in, he asks, “Trouble sleeping?” Steve replies, “I slept for 70 years, sir, I think I've had my fill.” Right. 70 years. His fill is a full measure of time - 70 years. That's a fullness of time period like an Everlast heavy-bag filled with 70 pounds of sand. Fury's retort: “Then you should be out, celebrating, seeing the world.” The world. Space. Put it together. Time and Space. Daniel 9 refers to the full span of time that had been revealed to the prophet Jeremiah for the exile in Babylon: 70 years. I see an even far more compelling connection here with Enoch and a 70 generations long term of imprisonment, because those responsible for the flood of Noah's day want so badly to be released back into the world, to celebrate with the bringing of destruction. They are THE AVENGERS, with all the agents allied with them. One of the main objectives in the time war is to impact the countdown timer on the time-lock of their containment system, to set them free in a manipulated early release.

Steve responds, “When I went under the world was at war. When I wake up they say we won. They didn't say what we lost.” What did Steve lose but time? Seventy years got away from him. Gone. He makes reference to the passage of time, and war. When he went under, what was it that he went under? Water. Under time. Into the UNDERworld. Fury: “We've made some some mistakes along the way. Some very recently.” “Along the way.” “Very recently.” Emphasis: Through space and time.

Steve: “Are you here with a mission sir?” Aaron and I have been discussing a time mission for years, how Matthew 24:22 bears witness to such a thing. The elect saints will be engaged as the benefactors in a truncating of time relative to megas thlipsis. An ark is for salvation, the saving of flesh. The time ark concept. Fury's response to Steve's question is succinct. “I am.” Right. That's a coded reference to the identity of The One who commissioned Moses at the burning bush on Mount Sinai. Moses himself had been saved in an ark, spared certain death by being floated on the Nile to be found and raised by the Pharaoh's daughter. He was commissioned by I AM to save Israel by passing them safely through the Sea of Reeds, as by another kind of time ark, on dry land. Dry. Absence of water-as-time. Fury, a counterfeit I AM, has the eye patch, the darkened eye of Horus, of course, so he's an antichrist type like all the other characters. Steve: “Trying to get me back in the world?” Hmmm. NLP. “Get me back” hints of revenge, of avenging, but think on this: The mission is first to get the demigod Amaru back into this space-time domain. Fury: “Trying to save it.” Yeah, saving it requires a savior of the world, a messianic agent. There is a time ark mission that involves bringing the fraudulent savior into the world. We saw that already with Loki, but the modeling repeats in varied shadowy ways.

Fury hands Steve a dossier and we see the Tesseract featured. Steve says it's HYDRA's secret weapon. Let's take a closer look at that.

Everything HYDRA is related to water, like the word, hydro. Water-as-time.

“In Greek mythology, the Lernaean Hydra was an ancient serpent-like water monster with reptilian traits. It possessed many heads – the poets mention more heads than the vase-painters could paint – and for each head cut off it grew two more. It had poisonous breath and blood so virulent that even its scent was deadly. The Hydra of Lerna was killed by Heracles as the second of his Twelve Labours. Its lair was the lake of Lerna in the Argolid, though archaeology has borne out the myth that the sacred site was older even than the Mycenaean city of Argos, since Lerna was the site of the myth of the Danaids. Beneath the waters was an entrance to the Underworld, and the Hydra was its guardian.” (Wikipedia)

While the Marvel productions remind us regularly of HYDRA's growing of more heads to replace each one that is cut off, I don't recall hearing this beast's job mentioned. HYDRA's namesake is the legendary guardian of the entrance to the underworld that is beneath the waters. (Seen “Pacific Rim” lately?) This identification is key, and with Steve's observation that the Tesseract is HYDRA's secret weapon, we can interpret the realm accessed using the Tesseract to be the underworld. This actually involves some flip-flopping. The dimensional gateway opening has to do with water, or literally with time.

The HYDRA logo looks like an Octopus and totenkopf (Nazi SS) or a variant on the skull and bones. To call it an allusion to H. P. Lovecraft's Cthulhu mythos is no stretch. Leviathan? Yes, indeed. Decoding the logo, we only see 6 appendages, three on each side. Code 33. The curling tentacles present an obvious 666 on our left, and a mirror of it on the right. With 6 numbers 6 thus written out for us, the numbering of the watery abyss is signaled; 66. HYDRA - Water beast of the abyss. The encircling of the imagery adds another 6 (O ~ 15 ~ 1+5) to provide redundancy in support of the 666 read directly on the left and on the the mirrored side. The HYDRA brand is also an XO MOB symbol. Including the head, there are 7 appendages to this beast. We see that SHIELD has assigned this matter a Security Level 7. Seven. It's another time number.

Here's some bonus imagery. Nexxus. HydraLight

After Steve's comment about the Tesseract being HYDRA's secret weapon, Fury says, “Howard Stark fished it out of the ocean when he was looking for you. He thought what we think. The Tesseract could be the key to unlimited sustainable energy. That's something the world sorely needs.” He emphasizes the words, “fished it out,” and we immediately see the fishy octupus-like figure in the document held by Steve. I believe there's a messianic reference being implied in the emphasis on the fish. (We'll see this interpretation validated with a later reference.) Isis searched for and found Osiris and then fished the parts of her dead husband / brother out of the water, except for his phallus, because it had been eaten by a fish. Why bring up the phallus of Osiris? In last season's SHIELD TV series, the Macguffin was a mystical alien obelisk. An obelisk is the phallus of Osiris. The comment Fury made about the world sorely needing unlimited sustainable energy is another dose of green propaganda from the Big Green Propaganda Machine that drives the world today, but there's more to it than just that. For one thing, there's the coded NLP reference to space-time in the mention of the ocean and the world in the same snippet of dialog. We're going to hear Iron Man voicing the green mantra in the next scene.

Director Fury's last line in the gym is a question. “Is there anything you can tell us about the Tesseract that we ought to know now?” The word, now, is superfluous, linguistally, but repetition serves to strengthen the NLP with additional time word content. Steve responds, “You shoulda left it in the ocean.” In the ocean, where it was figuratively lost in time.

Before moving on we should give our attention to what Steve is doing as the scene ends. He is leaving the gym. He picks up one of the heavy-bags and throws it over his right shoulder. With his gym bag in his other hand, he walks out through a passageway built with secure looking chain-link fencing. Why would he remove a heavy-bag from the gym? It makes sense to bring a heavy-bag the other way, to the gym, because that's where you use them. The bag represents a large unit of time, probably heptadic. (I note that it's #3 of 7 in sequence, leaving 4 remaining on the floor.) We see him carry it out past the columns, representing time travel, passing through the steel or iron gate, the dimensional barrier. He removes it from the gym. A large unit of time was removed from the time-space domain. Time truncation. While he models to us the removal of a fixed amount of time from the closed system, his commentary gives us something to think about. “You shoulda left it in the ocean.” There's a dark agenda being served by the removal of time from the domain, and I'm not referring to the fictional Marvel universe. The Everlast bag filled with the sands of time wasn't the only thing Steve took. What was in the gym bag? Gym bags typically contain clothing, garments. A garment is a metaphor for a body that is fit to access and operate within a specific domain. Different domains require different kinds of garments. How could Steve leave the gym without changing his garments? Well, because he took the bag of sand with him. He has time, and control of time, for a fixed season, and that provides access to multiple domains.

Wednesday, June 24, 2015

The symbolic meaning and ritual working of Qualcomm's promotional imagery largely parallels the title graphic for Stitchers. (Stitchers on ABC - MK-ULTRA, and Edgar Cayce) These recently spoke so loudly to me and reminded me of something Aaron and I noted from the Avengers film (2012). A thinly disguised space time ark is central to the plot. I'll give that some attention because, like many other items from 2012, it's now more pertinent than ever.

If you're a little fuzzy on why we're so focused on time, here's a set of posts that should help.

The Stitchers title illustrates the main plot device of the show, how two distinct entitities are joined or stitched into one. The way it does this is by a diagonally cutting through the word and an offset of the two parts. To understand what this means, first, the letter I has had the top sliced, giving it a kind of dot that creates a lower-case look. If you're familiar with the long running series of posts I began back in 2010, See, it's the “i” of Horus! - you know the reason for the stylized graphic is to signal the i or eye. The Horus Eye is central to the Adversary's scheme.

The letter T is sliced through leaving most of it intact. It's separated off with the letter S. STi ~ S -pace - Ti -me. The ST signals, Space-Time. We're going to see that emphasized in The Avengers. In the Stitchers post I demonstrated how space-time dimensionality was featured, mainly through the water-as-time metaphor. If you explore the ancient collection known as the Book of the Dead, or the Pyramid Texts and Coffin Texts, you'll discover how the Horus Eye involves space-time domain transitions and portals. Stitchers is about stitching a living persion together with a dead person, joining them together in a kind of shadow realm, an underworld. The Eye of Horus has to do with crossing over to/from the duat, the underworld, a hidden or unseen time-space dimension.

After publishing the Stitchers post, I was reminded of Aaron's dream about us being carried away in a huge wave. He heard someone say, “Displaced by water and time.” (See Megas Thlipsis - Insights into Allegorical Models and Signs 3/26/15) While we didn't have a clue what it meant for many months after, insight did finally come. It has to do with the season when the Devil has control of time and the time reset mission. In Stitchers, when Stitching is done, the Stitcher climbs into a water tank like an aquarium bath tub and immerses herself. Her body displaces water in an amount up to the full measure of her body's volume. Time displacement.

So, here's what the title graphic indicates. ST = Space-Time. One from the land of the living is joined with one from the land of the dead through the i/Eye of Horus. For most of you, this should be very familiar territory.

With CERN's idol of Shiva doing the dance of the Nataraja, when you understand the cosmological implications and relate Shiva to the Horus / Apollyon identity, some more dots should connect. (CERN's Lord of the Dance)

By the way, the LHC outside Geneva has been online colliding particles at their stated target energy of 13 TeV, and this activity is planned to be increased dramatically in packet or bunch frequency. According to their last report, they just had their first scheduled break in preparation for higher energy work, and they should already be back at it with record collision energy and rate combinations. We believe this instrument is in no small part responsible for what's happening to this time-space domain.

In closing, here's an item that pertains to the water-as-time metaphor. The first non-celestial timepieces were water clocks. The flow of time was measured by the flow of water.

“Water clocks, along with sundials, are likely to be the oldest time-measuring instruments, with the only exceptions being the vertical gnomon and the day-counting tally stick. Where and when they were first invented is not known, and given their great antiquity it may never be. The bowl-shaped outflow is the simplest form of a water clock and is known to have existed in Babylon and in Egypt around the 16th century BC. Other regions of the world, including India and China, also have early evidence of water clocks, but the earliest dates are less certain. Some authors, however, claim that water clocks appeared in China as early as 4000 BC.” (Wikipedia)

According to biblical history, that corresponds with Adam and Eve's expulsion from the Garden of Eden, and the cursing of the Nachash. Adam and Eve were in an enlightened condition, and Cain, the first born man was of the Nachash. They knew stuff. Clocks were not on the list of timekeepers listed as the Creator's provision in Genesis 1. I suspect that fallen angels may have helped advance the technologies of time keeping further.

Next up is perhaps a decoding of The Avengers' Space Time Ark / Tower of Babel

Tuesday, June 23, 2015

Dr. Richard Horton is Editor-in-chief of The Lancet, the world’s most respected medical journal.

“To state the point in other words, Horton states bluntly that major pharmaceutical companies falsify or manipulate tests on the health, safety and effectiveness of their various drugs by taking samples too small to be statistically meaningful or hiring test labs or scientists where the lab or scientist has blatant conflicts of interest such as pleasing the drug company to get further grants. At least half of all such tests are worthless or worse he claims. As the drugs have a major effect on the health of millions of consumers, the manipulation amounts to criminal dereliction and malfeasance.”

Monday, June 22, 2015

We have been continuing to see signs that quietly affirm that time itself really is hijacked, about to be more so, and then reset. In this vein, there's the stylized title graphic for Stitchers on ABC. I recently published a post about that show. The Stitchers title graphic speaks to what the Lord was highlighting to Aaron and I a little while back about the Avengers film from 2012. Before I get to those, there's the matter of Qualcomm's latest promotional imagery.

What caught my attention was an animated ad with the tag line, “When will today's fast be tomorrow's slow?” The animation happens under the double connected letters M, with the appearance of a pair of letters W, which expand into the words, Why Wait. The doubled W under the doubled M forms the astrological glyph for Aquarius, the water bearer.

Decomposed, there are two wave glyphs, the Egyptian hieroglyph for, water. Water is a familiar metaphor for time so, when they emphasize the water symbols and their marketing blurbs reference various aspects of time, it should be obvious that this is operating on the basis of theurgy.

“Qualcomm Incorporated is an American global semiconductor company that designs and markets wireless telecommunications products and services.” They promote the same agendas as the cell service providers like Sprint, TracFone, Verizon and T-Mobile, which I've addressed regularly in posts and videos. It's about symbolic media that functions in the way of the Occult, evidencing theurgy - in other words, ritual magick.

A student of the arcane noted the following.

“By the Principle of Continuity we can see that there must be a connection between the "highest" and "lowest" realms, between the One and Matter, and connecting all things in between. These are the divine Seirai (Chords, Chains, "Processions"), which unite the Orders of Being. Thus we have connections with the Celestial Bodies and are influenced by Them, who in turn convey influences from the Gods; this is the basis of astrology. We are all connected in the 'Great Chain of Being.'”
(source)

The following is excerpted from The David Flynn Collection (Kindle Edition).

“Additionally the theurgist sought to ascend into the presence of the gods by using symbols, signs, words, sounds, godly materials called seirai (chords, chains, "processions") which united Orders of beings with Celestial bodies, "A Great Chain of Being." The practice of theurgy would only convey influence from the gods if the symbols and rituals used were taught by the gods. This is why Plato said 'great power of geometric equality exists amongst both gods and men.'”

By so forming the astrological glyph for the water sign, the theurgist practices his ancient religion and leverages a very potent symbol.

The blue object that resembles a ball of yarn with knitting needles is probably supposed to represent a satellite. The style is retro, like Sputnik, the first satellite, launched October 4, 1957.

According to a current Wikipedia page, “Communications Satellites act as the middleman in the realm of telecommunications. These satellites are specifically designed to relay information from a source to a receiver. Types of information that can be transferred include: television, telephone, radio, internet, and military. As of May 11, 2015, there are over 2,000 communications satellites in Earth’s orbit that are being used by private and government organizations.”

A satellite and an astrological glyph of Aquarius: Space. The Aquarius and water glyph (water-as-time) plus time words in the ad copy: Time. Space-time and time-space.

So, if the blue ball of wire is a ball of yarn with knitting needles, what are they knitting, some kind of sweater? Hats and booties and pillow shams? I'm thinking, the fabric of space-time. Like Stitchers, mending or making fabric into garments, knitting fabric.

Why Wait. Make today the future, and the future today. “When will today's fast be tomorrow's slow?” Uh, huh? Fast and slow are rates of speed, distance over time ratios. The tag line prompts us recall the past, reflecting on our changing concept of speed. This conditions us with impatience, wanting what we don't yet have now, right now. Today and tomorrow are time related concepts. They seem to be advertising tomorrow's speed and future tech as if it is available today, which isn't really a novel concept. If we can have the future now, is today then the past? This will be touched on in further promotional brand imagery.

Hmmm. Classic Spaceballs. Dark Helmet: “When will then be now?” Colonel Sandurz: “Soon.” In that scene, they play the VCR video recording like it's reality. That's not really rare. The coming reset has been modeled in media of all kinds for a long time.

The horizontal separating line that bisects the blue orb at the intersection of the needles signals the Hermetic Maxim, “As Above, So Below.”

The symbolism that the OTO (Ordo Templi Orientis) considers to be the heart of the sigil of Nodens is plentiful. It's the XO or cross circle symbol, which is for the MOB, the mark of the beast. Nodens is known as the god of the abyss, the watery abyss. Yeah. You see how this is working, right? Layer builds upon layer. Can you spot the XO? Let's start with the orb, pierced with the crossed needles. The orb itself is formed with encircling wraps of wire that cross at right angles, again and again - XOXOXO... See the brand's letter Q as another XO, a cross on the circumference of the circle. One more layer supporting their ritual and confirming their intent to us is the grouping with the Q that we take to represent the word, question. The colon is oversized, and if we take that as a pair of circles and the Q as a third, we have the 666 signal, the number of the beast according to Revelation 13:18. Derive the number by identifying the circles as the 15th letter O. Each transforms to 6 as the sum of 1+5.

The letters M and W both rotate to form the numeral 3. Double M in Qualcomm ~ double 3 or 33. Code 33. Double W in “Why Wait” ~ double 3 or 33. Code 33, again. AND, double 33 is 33+33 or 66, the numbering of the abyss. The god of the watery abyss is Nodens, and the heart of his sigil is claimed to be the XO. Really, there's nothing ambiguous about this composited imagery. This illustrates the work of those who seek to ascend into the presence of the gods. It is a form of pharmakeia, the sorcery of Mystery Babylon the Great. The operation involves mind control or thought control below the threshold of awareness, and demonic interference effecting perception; cloaking, steering, deluding.

If you visit Qualcomm's website you'll find this wire model that looks like a human brain.

Image of the beast. Automaton, programmed slave of the beast. The implication is that this hard-wired brain is what awaits, right around the corner, and that this is what we want. So we're told. The repeating idea is human nature - just human nature. Just, has the subtle effect of reducing human nature in value relative to something else. More time related ad copy is featured. “Seeking to pull the future forward faster.” What strange language, right? Accelerating time - compressing time. If the future is ahead of us, wouldn't we really be pushing? Unless we're ahead of it, positioned where we can pull it. Shift. Time warp.

How about that catchy alliteration, “future forward faster.” Triple F ~ 666 (F is the 6th letter) Since they go there, we should identify the earlier alliteration, ending the opening line, “we want what's.” WWW or vav vav vav in the Hebrew: Code 666.

Finally, they ask the question, when, and say in response, why wait. If you've been following this blog and have been watching with us, this should really have your attention!

Speaking of time related copy, here's another image from their website.

“These aren't just products, they're the future.” WOW! Look at the picture, with young and old hands (Horus hands) emphasizing the difference in age. Time differential. The hands being emphasized are the left hands, signaling the left hand path. The tablet is not a product, its the future. We're looking at a time-space portal. Alice Through the Looking Glass. “...designed to redefine what's possible.” “To see this philosophy come to life...” ...like the Pythagorean philosophy of theurgy whereby the practitioners ascend into the presence of the gods?

Qualcomm Snapdragon. Dragon. The one who gives his power to the beast, in a snap. Ready to snap up the son born to the woman in Revelation 12. Snapdragon is a class of processors. What are they really interested in processing? Space-time portals?

Since we're on the subject of phallic imagery and sex magick, this next item really has to be noted. We're adults here, right? You're familiar with the Sodomite Gateway series, right? What I'm going to point out is something you're probably not going to be able to unsee, so give that some consideration before continuing - because this is graphic and offensive.

The big Q that we've been looking at, which is hanging out in space, appears with the punctuation mark known as a colon. You know where that is located in the context of anatomy, right? Well, the Q is a graphic of a phallus, with urethra, spilling seed. One eyed monster Horus eye - anal Horus eye. The sodomizing sky god. Sex magick.

I did warn you. That kind of thing just goes with the territory. It's who they are, and what they do. It's how the gods are worshiped.

Friday, June 19, 2015

A huge interactive presentation has just been published. These eight chapters of the book of Revelation include popular subjects like the so-called four horsemen of the apocalypse, the opening of the little book's seven seals and the sounding of the seven trumpets.

I had previously published chapters 7, 9, 10 and 11 individually, but those have been replaced. Filling in the range starting from chapter 4 has been a fruitful endeavor. If you explore this fascinating version, you'll see how far more insight may be gleaned from such a consideration of the wider scope.

Even using a monitor that is tilted to give me a height of 1920 pixels, and with the browser view zoomed down to the smallest size I still have to scroll. It's big. This is the kind of project where renting out a theater would certainly be beneficial. (Maybe during the Millennial Kingdom... ;) ) I could have extended this further to include chapters 12, 13 and 14, which are already presented individually, but I didn't perceive that there would be any benefit because there's a kind of parenthetical break right there to separate them. I anticipate that there will be more compilations forthcoming, as the Lord leads and provides. It's not easy work, but the rewards are so worth the effort. Aaron and I are continuing to be advanced toward this season's goals.

You'll notice the highlighting of certain bars and lines, a feature that has been added to recently published versions. That's where you'll find commentary embedded. To explore the commentary, just click the highlighted area. Here's an image that shows one of the commentary windows.

You'll find some interesting insight into the mountains and rocks of Rev. 6. Some of the more interesting bits are down in chapters 10-11. As you wave your mouse around exploring the relationships, I encourage you to give first priority to the one between you and the One who sits on the throne, and the One who takes the little book out of His hand.

Wednesday, June 17, 2015

In this season my attention has been nearly entirely and still very intensely focused on the “mission critical” subjects. I have been rather minimally responsive to email and contact through the blog and YouTube, and I apologize for any offense at this neglect. This season is very unlike those that came before, in certain respects. How long it will last, I cannot say I know. Yet. Some would insist that a quest for that answer is pointless, but seeking the Lord for an understanding of our times and seasons remains paramount. That is in parallel with the development of our relationships of love, faith and hope. He remains wonderfully attentive to us.

Aaron and I have been to see TomorrowLand twice, and the allegories Aaron and I perceived in that seem worthy of a lengthy series of posts. However, it's not likely to get more than a very brief treatment. Like with the film, “Live, Die, Repeat - Edge of Tomorrow,” what insight we gleaned about the important subjects has been processed and passed on through the benefit provided to us in validation, more confidence and clarity and refinement to our understanding. There's always been a benefit in the exercise of working through the details of the symbol language, and a wonderful benefit in sharing it, but there's just not enough bandwidth to work through the presentations and still give adequate attention to what's most important. As important as that work was in previous seasons, it largely represents a distraction. Unless, like with this post, the Lord does so prompt. We remain active with publishing on the MOB blog, but it's a strictly limited effort.

There's a new show on ABC called, Stitchers. Yesterday, while I was starting to wake up, after watching episode one the night before last, the Lord was opening to me a layer of allegory where it's all about Illuminati mind control programming, MK ULTRA/Monarch style programmers, handlers and slaves. It covers ground that's mostly been covered before, but this repackaging appears to be specially fit for this season, which becomes very apparent when you understand the relevance of the featured water-as-time metaphor.

Here's the official plot summary.

“Stitchers” follows Kirsten (Emma Ishta), a young woman recruited into a covert government agency to be ‘stitched’ into the minds of the recently deceased, using their memories to investigate murders and decipher mysteries that otherwise would have gone to the grave. Working alongside Kirsten is Cameron (Kyle Harris), a brilliant neuroscientist whose passion for the program is evident in his work. The secret program is headed by Maggie (Salli Richardson-Whitfield), a skilled veteran of covert operations, and includes Linus (Ritesh Rajan), a socially immature bioelectrical engineer and communications technician. Kirsten’s roommate, Camille (Allison Scagliotti), a gifted computer science grad student, is also recruited to use her skills to assist Kirsten in her new role as a ‘stitcher.’

My commentary will make more sense if you can watch the series premiere after reading this all the way through, then return to read this a second time. It will help if you're familiar with what I've already written about trauma-based mind control programming, and with Fritz Springmeier and Cisco Wheeler's writings about Illuminati slaves and the testimonies of such as Arizona Wilder, Svali, Bryce Taylor and Cathy O'Brien.

It's very common to find media presentations where the mind control programming theme is woven tightly together with the beast/antichrist theme. What I see in this production is mind control programming and the time-space dimensional merging aspect of the antichrist plot. Let's start with the focus on time.

The pilot or premiere episode is titled, A Stitch in Time. There's the subject, right up front. All the promotional imagery features water, which is a metaphor for time. The stitching process involves water, which Kirsten is mostly submerged in. Kirsten was recruited for her special condition, which they call Temporal Dysplasia.

The condition is fictional. It's claimed to mean that Kirsten can't judge the passing of time like normal people, and this is claimed to make her suitable for stitching. In the real world there is a condition called cortical dysplasia, which is a brain function disorder, and there is a part of the brain called the temporal lobe, but Kirsten's condition is fabricated to support the allegorical layering.

Dysplasia, means, the enlargement of an organ or tissue by the proliferation of cells of an abnormal type, as a developmental disorder or an early stage in the development of cancer.

The word, temporal, means: 1. relating to worldly as opposed to spiritual affairs; secular. 2. Of or relating to time.

The tagline of the show is, Memories never die. Memory is a three part process involving encoding or registration, storage and retrieval, and this of course has everything to do with time. The premise of the show is that the brains of the recently deceased retain the stored memories and that stitching allows them to be retrieved. This speaks to me on a few levels. When time is reset into the past, memory of this season will not exist because it will be as though it never happened. Except that things are happening, and it will be such that special provision will be made for some to remember. Certainly, the Lord of Lords is keeping accounts. The premise that memories never die speaks to when the ancient memory stored in our DNA will be activated, as some would see it, and a great hoax is perpetrated. The world will “remember” who and what they are shown in ways that, on a very local scale, are illustrated and modeled by Stitchers.

Temporal dysplasia sounds like temporal displeasure, which speaks to the characteristic attitude of the enemies of the sovereign God about time not being under their control, and, too, that this state and the attending displeasure is seen as only temporary.

Temporal dysplasia also sounds like temporal displacement, and this identification plays on multiple levels. Time displacement. This is Kirsten's condition. She's the special agent who can access the memories, traveling through the stitched brain back in time, through immersion in the water tank, to roam around in the person's past. She is therefore a time traveler, and stitching is all about temporal displacement.

The name of the pilot episode isn't explained, but the old adage referenced provides an apt description of the show's plot. A Stitch in Time - saves nine. The meaning has to do with mending fabric with a needle and thread. If fabric is torn and you delay mending it the fabric will tear more and more stitches will be required to mend it. Stitch it sooner to avoid more stitches later. One stitch now prevents nine in the future. Kirsten is sent on missions to experience the past and bring reports of her findings, with the objective of using that knowledge plus impressions and feelings to change the future. All the episodes so far have to do with using the dead person to save more people from being killed. A Stitch in Time - saves nine.

The Adversary's plot isn't about saving people, despite all the delusional transhumanist chatter being heard today. It's about displacing the Creator, and people are a means to that end, who only have value with respect to their usefulness. I perceive a stitch in time as pertaining to the fabric of space-time, which is already tearing. There are clues that suggest to me that the numbering of the implied “saves nine” is relevant, with regard to the 9th gate, the celestial Silver Gate. That's the time-space portal that is being targeted for opening by those who operate the super-colliders and perform the Occult rituals. The symbolism evident in Stitchers makes it very obvious that the show is Theurgic ritual that works toward that objective. You have seen the CERN opera-dance SYMMETRY film trailers, right?

Episode 2 is titled, Friends in Low Places. Think - underworld.

Let's consider how Stitchers plays around with Spiritualism and presents Kirsten as a medium. There's a definite paranormal angle to the show. The word, temporal, means: 1. relating to worldly as opposed to spiritual affairs; secular. Flip that. Episode 3 is titled, Connections. We see Kirsten “channeling” the dead person, basically adopting their identity. She establishes a kind of bond in the stitching, a soul connection, and there's a transference. The way it works in reality is with masquerading demons and possession. Stitching as demonic possession, making a medium.

The character's name is telling.

Kirsten Clark.
K. C.
Pronounce Cayce
Edgar Cayce

“Every year, tens of thousands of people from all over the world become interested in the life work of one ordinary man. He was an average individual in most respects: a loving husband, a father of two children, a skilled photographer, a devoted Sunday School teacher, and an eager gardener. Yet, throughout his life, he also displayed one of the most remarkable psychic talents of all time. His name was Edgar Cayce.”

“For forty-three years of his adult life, Edgar Cayce demonstrated the uncanny ability to put himself into some kind of self-induced sleep state by lying down on a couch, closing his eyes, and folding his hands over his stomach. This state of relaxation and meditation enabled him to place his mind in contact with all time and space. From this state he could respond to questions as diverse as, "What are the secrets of the universe?" to "How can I remove a wart?" His responses to these questions came to be called "readings" and contain insights so valuable that even to this day individuals have found practical help for everything from maintaining a well-balanced diet and improving human relationships to overcoming life-threatening illnesses and experiencing a closer walk with God.”

This is biased, of course, with the above sourced from Cayce's own Association for Research and Enlightenment. If you read that page and watch Stitchers the intended connection should be obvious. The stitching requires that Kirsten is reclining and then the modeling is that she is ritually put into a trance state and then brought back out. K.C. goes forth with questions and reports back with the answers, just like Cayce. At some point, the Akashic Record has to be named in all this.

The Bible is pretty clear about avoiding such activity, and that's for our benefit because there are blessings for obedience and curses for disobedience. Spiritualism is all about demonic deception. Those who promote it are deceived and deceiving.

The secret medium K. C. has a meaningful name even beyond her signal initials. Kirsten. Say, cursed in. Think about it. The name, Kirsten, means, Christian. The name, Clark, means cleric, scribe. Kristen Clark. She's kind of a priestess. Edgar Cayce was a “devoted Sunday School teacher” and his function as a medium was in a priestly kind of ministry as a prophet-priest. Not in service to my God though, to be sure.

Kirsten Clark. KC is Code 33 - a notable observation. K=11 and C=3. KC~11*3=33. One of the associations of that number has to do with the death and resurrection of Christ, at age 33. A person becomes a Christian being identified with Christ through His death and resurrection. Kirsten - Christian - KC 33. In the Stitching, she is stitched to a dead person, identified with someone who died but is not “really” dead.

Who is the authorized agent in the position of responsible for the Stitchers operation? Maggie Baptiste. Think John the Baptist. See the baptism of Christ every time Kirsten gets immersed in the water and is subsequently stitched to the dead person, making a distinct identification, who then emerges alive from the water with the dead person's memories and mind and heart. Okay. Now, flip it. Think antichrist. That's what is being dramatized in not really very subtle allegorical fashion. Think about Revelation 13:1 and the beast seen rising from the sea. Think about the watery abyss and the fallen star who is given the key to the abyss.

Now, let's consider how the beans are spilled on MK-Ultra and similar programs. This is what the Lord was opening to me.

The hacking into the dead brain is a mind-control metaphor. Kristen is a multiple, a chosen one, an Illuminati slave. The programmers are, well, programmers, and her handlers. The Stitchers top secret agency's government umbrella - CIA? When they go through the stitching routine, it's the slave being put into the trance state for programming. Dissociation. Over the rainbow - through the looking glass and down the rabbit hole. Lewis Carroll's rabbit with the pocket watch was obsessed with time. He was in and out of the rabbit hole, as the psychopomp Hermes, and Anubis. Temporal Dysplasia / displacement.

People are put into the trance for programming or missions. When you watch Kirsten stitching and exploring the life lived by the person she's stitched to, think about remote viewing and astral projection. She searches the Akashic Records, traveling the astral plane in an etheric body, to use some common terminology. Temporal dysplasia suggests temporal displacement or time travel as unbound to this realm. These kinds of abilities are the reason for why the slaves go on these kinds of missions, and the handlers and programmers benefit. Surveillance in the present as well as gaining whatever insight may be gleaned about the past and future is coveted information.

Slaves are sometimes put into the trance state for the use of their brains as biological hard drives, memory storage units. They are sometimes used as secure couriers, and the data or memories can only be accessed with the right codes. Stitchers dramatizes this very obviously. To come “out of trance” Kirsten has to code in her name and pin on the virtual keypad.

Her pin is “I Heart Linus,” Linus being the name of the programmer who assigned her that pin. Word associations - Linus Torvalds, famous programmer known for the Linux operating system. Linus: “Lion us” - messianic identification. “Lyin' us” - deceivers. The pin code is a ritual sodomy signal. Heart shape = buttocks. Heart is taken to mean, love, and the ritual sodomy and ritual abuse is equated with love in the perverse relationship with the abusive traumatizing handler / programmer. Stitching is going into trance, dissociating, which is also known as going down the rabbit hole. The rabbit hole is a metaphor for the rectum, and traversing it with ritual sodomy, which has been the standard means of Illuminati programming for thousands of years. This didn't start with the CIA and MK-ULTRA or Monarch, or with the Nazi SS. Ritual sodomy is used like a mason uses mortar with bricks to effectually bind the slave to the handler and to the handler's organization. Stitching, like how a stich sews two together.

Kirsten is made to wear a special black body suit when she stitches. They call it a Catwoman suit, minus the cat ears and spike heels. Beta alters are identified with sex kitten programming. Cat woman. High heels, raised in the rear shoes that raise the wearer's rear, are a ritual sodomy symbol.

When Kirsten describes her condition she tells us how she lacks any natural ability to measure the passing of time. We would say that she has no internal clock. She lists her alternate methods for calculating intervals, substitutes, and this gives us a view into the standard Illuminati alter system that has many timers and internal clocks built in that regulate the complex workings.

Some of the promotional imagery pictures water coming off her face in a way that resembles a mask. Masks represent front alters behind which an internal alter is isolated. Kirsten tells us that she didn't have normal emotional connections and had to learn to model facial responses. The person's core identity is detached and isolated inside behind the front alters who interface with the outside world.

One of the things done to slaves to traumatize them and induce the dissociative state involves ritually drowning and revival. There's the water tank baptismal. There's also sensory deprivation and electro-shock trauma - which is also demonstrated.

The one who presides over the ritual baptism activity is named Maggie Baptiste, and Maggie or Margaret means, pearl. During Illuminati over the rainbow trance programming, there's a black pearl involved, which deals with memory storage. Again, Memories never die, goes the tagline. Here's what I wrote about a dramatization that took place during the London 2012 Paralympics.

“One of the features of this programming is a black pearl. That big black “umbrella” in the middle of the stadium represents the Monarch black pearl! Here's the role it has as the programmer hypnotically guides the slave into the deep trance, descending down on clouds that are the colors of the rainbow. “Land very gently ... very softly ... in the center of a round, black pearl. See it glowing, softly, gently.” When the slave is about to be brought out of trance, it's referenced again. “In the pearl, prepare to awaken.” As the programming session finishes and the slave is going to be sent back into a front alter, the memory of the program will remain "in the black pearl" while the slave is isolated from it for security. 'Leaving the memory in the black pearl and closing and sealing the black pearl. You will remember only those details that I tell you to remember.'”

When she dissociates as traveling over the rainbow to another dimension, Kirsten experiences trauma. In one instance, she's standing on top of a high pillar or pedestal, and freezing cold. The point is made about her feet being for grounding, and this emphasizes the dimensional and time transit.

A column is used to symbolize the goddess of magick with the ankh key to resurrection. The actress who plays Kirsten is Emma Ishta. Think, Ishtar. Goddess. “Imma Goddess.” There are other goddess symbols seen in the show.

Multiples have identity issues, with multiple identities or dissociated alters. Her primary handler, Cameron Goodkin calls her by a wide array of odd names, handles, it must be said, for multiple alters. He's Good Kin because the handler is often a trusted member of the family. Kirsten is special and a lot is being made of her father's identity and role. It suggests that she's a chosen one, which is a multiple who is of Illuminati family bloodline. Her GoodKin handler is named Cameron because it's an anagram, for, romance. There's a reference to the perverse sodomite and abusive handler-slave love connection, and the show superficially plays around with the Cameron and Kirsten relationship dynamic.

The casting of the show is obviously important. They are leveraging the history of networked shows in the SyFy channel network.

Stitchers blurb: “Kirsten’s roommate, Camille Engelson, a gifted computer science grad student, is also recruited to use her skills to assist Kirsten in her new role as a ‘stitcher.’ ”

Played by Allison Scagliotti (skal-yotti), of Warehouse 13 (2009-2014), where she was also gifted with computer skills.

“Warehouse 13 is part of Syfy's developing shared fictional universe, with several characters crossing over between series:”

“Global Dynamics researcher Douglas Fargo (played by Neil Grayston) from Eureka traveled to South Dakota to update Warehouse 13's computer system in the Warehouse 13 episode "13.1". Warehouse 13 computer wizard Claudia Donovan (played by Allison Scagliotti) subsequently traveled to the town of Eureka, Oregon to check out the technological marvels at Global Dynamics in the Eureka episode "Crossing Over". Fargo again appeared in the Warehouse 13 episode "Don't Hate the Player" when Claudia, Lattimer, and Bering traveled to Palo Alto, California to find Douglas beta testing a virtual reality simulator with the aid of a dangerous artifact.”

Stitchers blurb: “The secret program is headed by Maggie Baptiste, a skilled veteran of covert operations.”

She's played by Salli Richardson-Whitfield, who played Dr. Allison Blake in the series, Eureka. (2006-2012)

Talk about crossing over from one universe to another. Hmmm. Warehouse 13 and Eureka are defunct. Nothing but memories. Yet, there they are, in Stitchers. Temporal displacement indeed. Temporal Dysplasia. Temporal Displays, yeah?

It's good to see what we're looking at, and what others are being programmed with. It still matters.

Tuesday, June 16, 2015

Here's an interactive version of Matthew 24, featuring the most up-to-date and most suitable version of the Greek text, the UBS5. I know most of you don't read Greek, but you may have wondered how of if the symmetry is expressed in the same way. The structure is inherent, so, yes. In Greek, and when representing the Hebrew text. (I may soon be offering a sample of Hebrew also.)

When you explore the interactive version, you'll notice that the places where commentary has been embedded (click events) is being called out for attention with yellow highlighting. I'm updating the display in an effort to strike a balance between too distracting and too subtle in the highlights.

This work of expanding on the kind of content beyond the popular English versions is bearing fruit. There's value in looking at the very best representation of the Word in key passages. We have a firm conviction that the Lord has given us everything we need, with nothing lacking of all we need when we truly need it. He has given us tools and abilities and they are not to be neglected. We're very focused on the same two tracks, character and knowing the time. Patience and discipline have been the bywords as we continue to press in for all the Lord has for us. Aaron has been studying Greek as I've been attentive to the structures.

I've been working on large scale projects, stringing multiple chapters together. I expect to be publishing some of the fruit of that very shortly. Because of the importance assigned to those projects, and how demanding the work continues to be, publishing to the blog has been infrequent. I have a few in the queue and hope to publish more shortly. Thanks for your continued encouragement! While the world appears to be falling apart all around, the Lord Himself is a sure anchoring.

Thursday, June 04, 2015

During this past Pesah season, which was so dramatically marked by signs both publicly and privately, one of the recurring signals had to do with the time 12:21, seen on digital clocks to mark key events. The clock on the cable box was primarily used, because Aaron and I were in the living room. The digital clock on the stove was also used, which came on after an extended power outage and flashed that time while I was in the kitchen, and I happened to be looking right at it when it came on. That clock and time was used once more in connection with the apple clock that had impossibly fallen to the floor this past Yom Teruah. It was in that same brief season, and while I was holding the whiteboard with the time loop diagram and Aaron and I were discussing how his engagement with the apple clock (picking it up, restoring the battery, resetting the time and hanging it back up) modeled the time reset that was drawn on the whiteboard. These instances were always used to mark very emphatically something that was being demonstrated to us about time itself, relative to this very special season. We had long understood how 21 was a time number, and the number 12 had been very recently emphasized to us as the same.

Jesus answered, "Are there not twelve hours in the day? If anyone walks in the day, he does not stumble, because he sees the light of this world.~ John 11:9

Combining the 12 and 21 together in the 12:21 signal gave that two-fold witness emphasis, but it was teased that there was more to it than that, and the Lord has been faithful to reveal more.

We read this expression as 12 and 21 because we interact in a motion traveling from left to right.

12:21

If we reverse the direction, we still experience it as 12 then 21. It's reversible, as mirrored, invertible. 1 2 2 1.

Here's something weird. ELO, the band (Electric Light Orchestra), had a hit in the 70s called, Fire on High. I had the LP. That's a big vinyl disk, played at 33 rpm. The song features a really odd musical section where some guy is talking gibberish in a loud voice. If you spun the record backwards, you heard him say this in a passionate but crazy voice. “The music is reversible, but time -- turn back - turn back - turn back - turn back!” Well, if you read the book of Enoch where it describes time angels and fiery mountains and stars, or search out clockwork elves, you may conclude that they were probably hinting at something legit.

And, moving on... With the expression 12:21, given two separate vectors, they both encounter 1 then 2 as they move from outside toward colon between them. Moving outward from the colon, both vectors encounter 2 then 1. Twelves or twenty-ones. The masked model I was led to diagram involves a time loop. The numbers illustrate this diagram if the two vectors are circling in opposite directions.

Like a particle collider. (LHC animation: The path of the protons) Consider the colon in the middle of 12:21 as a site of proton collisions in CERN's LHC. The insight into 12:21 extends to include the model of the supercollider. Time machine. The 12:21 digital display is an expression of the symmetry of time. Symmetry, is the name of CERN's promotion art film, which is descriptive of the physics involved with some of the experiments, and of the relation of science + magick and, it seems, of the combined ancient + modern tech involved.

There's something else about the 12:21 signal. It transforms to the mystical number 33, which I've written about at length as a Code 33.

12+21=33
1+2 : 2+1
3:3

Three, is a resurrection number. The 12:21 kind of resurrects into itself.

The 12:21 signaling of the season was so obvious, there was just no ignoring it. Each instance of the witness connected it with the elaborately masked model and a diagram of the model and other important aspects that dealt with the high strangeness of the brief season's passing.

Here's an image from one year prior to when the lawless one would have been revealed, with the Papal false prophet, Queen Mother (goddess), a Royal Prince, and spirits. "The week in 33 photos."

The artwork featured in the background is known as Cosmic Embrace, by Camilian Demetrescu.

Dedicated to the tragedy of 9/11, a false flag hoax. Divine comedy. Clockwork angels are already working the machinery, as per Enoch. Hmmmmm. Behind the scenes, the players are working their pharmakeia, manipulating the time and season.

Is it time yet for an intervention? There's so much that we don't know, but we do know the Lord is faithful to keep all His promises, and the return back in time, as bizarre as it may seem, is the only present reality that really makes sense because of the way the past few years have unfolded.

When Aaron and I went to see the latest Marvel Comic film, Age of Ultron, we heard Bruce Banner exclaiming about how he was in a time loop.

We also saw another Disney production (A113) called TomorrowLand. Tagline: Remember the Future. Soon, some of us actually will be able to “remember the future”, but when we've been returned to the past, most will not really make the loop and there will be nothing to remember. Lord willing, there's more to write on this film, which really spoke loudly to us about those responsible for the production being privy to a significant portion of what's unfolding.

Monday, June 01, 2015

Yesterday, as I was reviewing the thematic structure of Daniel 9, I noticed another level beyond what I had already presented. You can see the updated version displaying two versions - at the same time.

It's also been expanded with some commentary. In the range of verses 26 and 27, find the lines of text and bars where the mouse cursor turns into a hand, and click there to bring up commentary panels. Thinking outside the theological box is required. All the traditional interpretations I've encountered neglect to address where the extra-dimensionality is in view. It is as the Lord has ordained it to be, reserving what has been so well concealed for us to discover in these last days. He promised to help us with that - and He is!

In early June, the LHC is expected to be colliding protons at the new energy frontier of 13 TeV. FYI, yes, today is June 1 already, and that is the maximum energy target they have been anticipating.

Smaller LHC collaborations to analyse collisions at 13 TeV“Some 100 metres underground, on the 27-kilometre ring of the Large Hadron Collider (LHC), sit four experiments the size of buildings. ATLAS and CMS are general-purpose detectors designed to investigate a wide range of physics phenomena from Higgs bosons to dark matter; ALICE specializes in studying quark-gluon plasma – a state of matter thought to have existed moments after the Big Bang – and LHCb is investigating the difference between matter and antimatter by analysing beauty quarks.

But these are not the only experiments at the world's most powerful particle accelerator. Three smaller experiments – TOTEM, LHCf and MoEDAL – will be among those searching for new physics when data taking begins, in early June, at the LHC's new energy frontier of 13 teraelectronvolts (TeV).”

If you're not familiar with this video, you may find it worth watching because what CERN won't admit to openly is expressed in Occult fashion, according to practice consistent with Theurgy.

Follow by Email

Feeds Subscription

* Policy for Comments

With regard to 1 Corinthians 14:34-35 and in the interest of honoring our Lord with propriety in this online assembly of saints, only comments that are submitted by those who identify themselves clearly as males will be considered for publication.

If you would like to communicate personally we can be reached at our gmail addresses. Bob (theopenscroll@)Aaron (theultimateplan@)